Frankenstein

Many school plays for younger age groups can veer towards the trite and the twee, feeling the need to be contemporary and languishing in a sea of mediocrity.  Not so this ambitious production. Director, Helen Kirk, wisely chose an adaptation of Mary Shelley’s classic novel whose central figure, the monster of Victor Frankenstein’s creation, towers over the popular imagination.  It is a story which reflects many of the anxieties of the time: science, religion, and mankind’s relentless desire to supersede the limits of what has gone before – themes which are as equally relevant now in this age of Artificial Intelligence, as they were at the start of the nineteenth century.   

For this Gothic story to entrance a modern audience, however, requires a bold reimagining for the stage.  The British Youth Music Theatre’s adaptation, replete with toe-tapping songs and haunting melodies, was just this.  Yet it was Kirk’s skilful handling of the material that brought forth fruit. Her bold production, set in the round with its cast of brilliant, fully committed actors, fired successive bolts of electricity into this old story and made it come alive once again.  It was a work of alchemy on a par with Frankenstein himself!    

The story was carried in large part by Oliver Coleman-Smith who played the eponymous hero.  He was impressively believable, capturing Frankenstein’s earnestness, myopic ambition and tenderness.  He also handled the different songs with great assuredness and his all-round confidence and poise were hugely laudable.  His counterpart, Jago Gale, gave a beautifully understated, brave and believable performance as Frankenstein’s creation.   He leant the character real pathos and the songs in which he addresses his creator were beautiful and poignant.  George Russell-Ross meanwhile used his strong voice and natural stage presence to convey the manly vitality of Victor’s childhood friend, Henry Clerval.  The female leads were also engaging. Martha Bedell captured the responsible, maternal traits of Elizabeth; Maddy Kirk showed her versatility in her roles as Camille and Elise; Faith Summer Sherwood was memorable as the girl creature; whilst Charlie Beneventi gave a very brave and tender performance as Agatha.  Other performances of note were the extraordinary duo of Zac Scarborough and Rafi Tootal, owners of the freak show at the start of the play - an element added for the stage and not in the original story - whose camp, dynamic characters exuded a glorious freedom and fun.   

This production, however, was as much an ensemble piece as it was anything else.  The wonderful assortment of villagers who appeared repeatedly, gave the stage tremendous dynamism as they walked, stomped and danced in some beautifully choreographed sequences. They also sang with real aplomb and it was glorious to see Skinners’ boys shake off their inhibitions and sing with such freedom.  Special note should be given to the music department for enabling this, and for their team of great musicians who were note-perfect and provided the production with its rich soundtrack.  Finally, the stylish set and lighting design deserves a mention for giving the show a brooding, intense atmosphere as well as a splendid backdrop for the performers. 

This was an extremely ambitious production in terms of its choice of material, its staging and the musical elements.  That it came off so brilliantly is testament to the imagination of the Drama department, the talent and bravery of the cast, and the hard work and commitment of all involved.  It was a real triumph and, in many ways, ground breaking.   

Charlie Hill